"An Inconsistent Truth" Soundtrack Lyrics

---

"An Inconsistent Truth" Soundtrack Description

What this album feels like

• Immediate mood: talk-radio grit, highway windows, a score that keeps its head down and pushes the story forward. No grandstanding, more under-the-surface pulse.
• Two-part release: a full-length original score by Michael Thomas Benoit and a short companion EP with four songs by indie acts woven through the doc.
• Why it sticks: because it documents a specific American media moment. The cues step around arguments and frame the road-trip journalism; the songs add texture—garage, roots, local-bar energy.

Background & Context

• The film: a 2012 documentary following broadcaster Phil Valentine as he chases counterpoints to climate orthodoxy. It’s interviews, freeways, and a lot of polite sparring.
• The releases: An Inconsistent Truth (Original Score) dropped mid-January 2012 as a self-released digital album. A week-ish later came the Original Motion Picture Soundtrack EP—four cuts, four different artists, a snapshot of the movie’s needle-drops.
• How they split the work: Benoit’s score does the connective tissue—the drive-time, the transitions, the “we’re still thinking about that last answer” space. The EP carries the voices from the film’s indie corners.

Musical Styles & Themes

• Score palette: modern documentary grammar—steady rhythmic beds, pads that move like weather fronts, small string figures, and occasional guitar or piano to warm the edges. It’s patient, almost procedural.
• Songbook DNA (EP): Americana lean with alt-rock touches—bar-band swagger, rootsy grit, and a touch of retro R&B attitude. Four artists, four moods, all pointed toward motion.
• Theme logic: the score holds neutrality on purpose; the songs speak in first person. That tension—objective vs. subjective—mirrors the film’s dialogue-heavy structure.

Track Highlights (no full tracklist, just moments)

• “Medieval Warming” (score) — long-form cue that breathes. It shifts from low, unsettled drones into gentle harmonic light, like a debate cooling off into reflection.
• “House of Cards” (score) — the pulse tightens; arpeggios tick like a dashboard clock. It’s the sound of a hunch turning into a hypothesis.
• “Too High a Cost” (score) — elegiac string writing without melodrama; the cue steps back and lets images do the arguing.
• “Surf & Turf” — Pacific Heat — a surf-lick postcard, half-grin, half-strut. It opens a door and says, “Don’t overthink this, just ride.”
• “Looking for the Truth” — Chadwick Station — jangly guitars, blue-eyed-soul phrasing. The lyric is a mission statement without the lecture—catchy enough to hum while driving.
• “Tip of the Spear” — Phil Valentine & The Heartthrobs — radio-host-turned-frontman moment: crunchy, mid-tempo rock with a wink.
• “Dirt People” — Willie B. Green — end-credit swagger. Baritone bite, bar-band swing; it’s the film rolling into the parking lot after last call.

Film Story & Subjects

• Phil Valentine: on-camera guide with a talk-radio cadence. The music around him favors drive-time patterns—literal and figurative.
• Politicians & pundits: quick cuts and neutral underscoring keep the temperature stable; when the edit sharpens, percussion quietly follows.
• Scientists & skeptics: interviews get more air under the score. You can feel the mixer leave room for sentences to land.
• Road-movie spine: footage of highways, airports, and meeting rooms—all stitched by score cues that value momentum over motif.

Production & Behind the Scenes

• Composer brief: keep the film moving without editorializing. Benoit writes like a documentarian edits—motifs appear, recede, and return when the story needs glue.
• Release rhythm: the score bowed January 14, 2012; the four-song EP followed January 24, 2012—both digital-first, indie-leaning drops.
• Why an EP? Clearing a handful of originals is faster (and cheaper) than a crate of hits. It also gives the film its own sonic thumbprint instead of relying on familiar radio staples.
• Cutting room pragmatism: cues were written to sit under dialogue, not fight it. Think close-miked textures and restrained dynamics; the mix favors clarity over color.

Quotes

“Documentary scores work when they don’t insist on being noticed; you miss them when they’re gone.” — a film-music editor’s mantra

“Four songs, four corners—that EP felt like a postcard set from the road.” — a listener’s note

“The guitars are honest. No gloss, just grit.” — a fan take on the closing track

Critic & Fan Reactions

• Critical pulse (music-specific): limited mainstream coverage; most reviews focused on the film’s argument. Among soundtrack diehards, the score’s unobtrusive craft drew quiet respect.
• Fan chatter: the EP became the more replayed piece—short, hooky, and easy to drop into a driving playlist. The score found its audience with people who like process music: steady, functional, unfussy.
• Legacy, modest but real: the releases live on streaming platforms, which is how most people stumble into them—through a song recommendation or a rabbit hole about the film.

Technical Info

• Name: An Inconsistent Truth — Original Score; An Inconsistent Truth — Original Motion Picture Soundtrack (EP)
• Type: movie
• Year: 2012
• Film release (U.S.): January 27, 2012
• Score album release: January 14, 2012
• Soundtrack EP release: January 24, 2012
• Composer (score): Michael Thomas Benoit
• EP artists: Pacific Heat; Chadwick Station; Phil Valentine & The Heartthrobs; Willie B. Green
• Labels: Self-released (score, ℗ 2012 Michael Thomas Benoit); independent digital EP
• Genre tags: Documentary score, ambient/cinematic, roots rock, alt-rock, Americana
• Charts: no major national chart entries documented
• Runtime (score): ~85 minutes

FAQ

Is there an official soundtrack album?

Yes—two, actually. A full original score by Michael Thomas Benoit and a four-track companion EP by various artists.

Where do the EP songs show up in the film?

They punctuate travel and interstitial moments, with “Dirt People” rolling over the end credits.

Does the score have big themes?

It’s more about motion than melody—subtle rhythmic beds, low-key strings, and pads that carry scenes without comment.

Who produced the EP?

It’s an independent digital release tied to the film’s team and participating artists rather than a major-label package.

Is the music on streaming services?

Both the score and the four-song EP are available on major platforms.

How the music plays against picture

1. Set-up: restrained score under highway shots and phone calls; nothing flashy, just forward motion.
2. Interviews: cues thin out to leave space; light pulses keep the questions from going static.
3. Counterpoints: when debates sharpen, percussion tightens; when they cool, harmonic light returns.
4. Exit ramp: credits land on a bar-band groove; the doc exhales with a song rather than a symphonic swell.

Additional Info

• Two-release strategy: not unusual for indie docs. A long score serves the film; a bite-size EP serves playlists.
• Credit quirks: some databases list multiple cinematographers and a small, nimble crew—consistent with the score’s “keep it moving” ethic.
• Rabbit hole tip: if you like the score’s approach, try the longer cues back-to-back. They read almost like a single, evolving piece.
• Nerdy ear-candy: listen for how the kick-like pulse lines up with cut points. That’s composer–editor teamwork.

September, 23rd 2025

'An Inconsistent Truth': Find info on Internet Movie Database and Wikipedia

---

A-Z Lyrics Universe

---